A technical history of the manufacture of Venetian lace ...

TREATISE

O N

VENETIAN LACE

A

V';

TECHNICAL HISTORY

OF THE MANUFACTURE OF

VENETIAN LACE

(Venice - Bura.no)

G. M. URBAN! DE GHELTOF

TRANSLATED BY

LADY LAYARD

V E N I C E

F e r d. O n g a n i a Edit.
1888

. ■" A ■

53G

TO THE READER

he word Lace (Merletto) means, in
its ordinary sense, a net work of
linen, made by interlacing threads
continuously without carrying them
twice over the same ground. In
the more general sense, it includes
a trimming of any kind of net, or other similar work
employed for ornament.

If we desired to arrive at the origin of this in-
dustry we should have to go very far back. The
earliest garments worn by man were merely in-
tended as a defence from the cold. The necessity of
mending parts of them must have been felt long
before the wish to adorn them. It is probable that
the work of joining together the frayed edges, and

2

of filling up those parts of them which may have
been worn away, led to the idea of an ornament
such as is placed on the edge of dresses, and In-
formed of threads more or less frequent! , and mot -
or less closely* crossed. Hence from o ..xpremio'.i
racca ( racconciare , to mend) may have ct, the
Italian word ricamu

The idea of a fringe must soon have suggested
itself from the unravelling and fraying produced by
wear on the edges of dresses \ and this gave rise
to the word merletto, and its equivalent in other
languages* used as a generic name for any kind of
ornament ending in many points* applied to the
edges of garments* of handkerchiefs etc, etc*

This ornamental Industry arose, consequently*
from the first necessities of life* and from the wear
and tear of time and use upon the rude garments
of primitive humanity* Under this aspect these poor
garments maybe considered as the oldest editions of
books on Lace* although they have never found a
place even in the most complete library*

Thus it would appear that the first step in lace-
making was to embroider on a solid ground* which
was then cut away and pierced* Next came the
ornamentation of articles of dress by drawing out
the threads of the texture* and by making edgings*
or trimmings* by interweaving these threads with
the needle without there being any ground — the
ground being furnished by the work itself* Such was
the origin of needle-made lace. Lace made with

3

spindles, or lead bobbins (< a fuselli o a piombini)
now known as pillow lace, came from braiding or
plaiting the frayed edges and loosened threads, and
thus forming with them a network of different pat-
terns, which could similarly serve for trimmings.

Under these two fundamental heads, needle
and pillow lace, all the varieties of lace may be
classed; such varieties only consisting in the differ-
ent arrangement of the threads, and in the great-
er beauty of design.

The only practical way of treating of the de-
velopment of any industry is to follow it through
its natural changes, and so to proceed, little by little,
from the simplest methods to the most complicated.
Perhaps there may be exceptions to this rule ; but
they are more likely to occur when the art has reach-
ed a more advanced stage. They arise, however,
from historical reasons to which it is not neces-
sary to refer in an attempt to collect together the
elements of one of the most elegant of indu-
stries.

As we must, therefore, restrict our explanations
to Venetian laces, or to those which took their
names from the city of the Lagunes, on account of
the uses to which they were there so magnificently
applied, we will endeavor to include in the two
above mentioned categories — needle and pillow
lace — the various sorts of laces which have been
called after Venice.

The point-laces [punti di merletti) to which

all authors give the name of Venetian are the fol-
lowing :

Punto a reticelio net lace

» tagliato cut lace

« in aria open lace

« tagliato a fog! i a mi flowered lace
« a groppi knotted lace

a maglia quadra
di Venetia
di Burano
tirato
burato

darning or square netting
Venice point
Burano point
drawn lace
embroidered linen

It must be observed that those laces known
as a groppi, a maglia quadra , burato } and tirato
cannot be called true laces , The first is only a com-
bination of small cords knotted together, very si-
milar to the work of the gasmen ter ie makers ; whilst
the second, known as the modano of the Tuscans,
in made by means of small pieces of wood, and is
very like hand-made netting. Burato is an embroi-
dery on coarse linen, and punto tirato is made by
pulling out threads in a regular pattern, as in the
punto a reticelio ? as we shall hereafter see. For
this reason we will omit them from this notice,
confident that we shall thus do no injustice to
the renown of the Venetian laces, as they are all
simple works, except the punto tagliato , which
contains the true rudiments of needle lace.

We have included in the Venetian laces pi! low -
lace ; which-, from ancient times, was also made in

5

Venice, and there reached such perfection that it
maj almost rank amongst them.

We will add that the different methods of lace-
making which we have described, have been taken
either from ancient works on lace, or from viva voce
explanations given by the lace- makers themselves.
We have, therefore, done nothing but preserve to
posterity the technical details of a manufacture which
has now been carried to the highest perfection.

We will conclude this preface by asking the
reader to overlook any errors in this work, which
would not have been written had it not been for
the courtesy of a person from whom we have re-
ceived the greatest assistance.

v

FfF

PUNTO TAGLIATO

(GUT-WORK)

T .

JL he simplest of all the needle - made laces,
which we have to describe, is Cut lace — Punto
Tagliato.

It is uncertain whether the white ornaments
on the colored sleeves of some of the figures in
Carpaccio’ s pictures, representing the Martyrdom of
St. Ursula, are meant for this lace. There is, how-
ever, another picture of the same date, and by the
same painter, in the Civic Museum at Venice, in
which are depicted two ladies, in the rich costume
of the XV th century, one of whom has on the edges
of her dress a narrow border of white lace, exactly
like that figured in Vercellio’ s Corona, and in many
other books of the kind, and there called punto
tagliato.

After the XV th ) and during the whole of the
XVbh century, punto tagliato remained in fashion.
Matteo Pagan published, in 1 558, the « Glory and

8

Honor ol Cut Laces and Open Laces » (]},and it was
a Venetian, Frcderico Vinciolo, who brought this
Lace into great celebrity in France, printing at Paris,
in the year 1587, the Siiiguliers el noitveaux pottr-
t raids et outrages de lingerie, wherein are spe-
cially' given designs for point conppe,

The lace of which we arc now treating, ante-
rior to others in its origin, but contemporaneous with
ihem in its early development, declined in public
estimation as the other laces reached a perfection
to which punto tagliato could never attain. It
would, nevertheless, appear that it continued to be
held in esteem during the first few years of the XVIL h
century ; for we find in the Inpen tar io dei drapa-
menti de lin (Inventory of the linen garments) which
formed part of the dowery of Ceciiia de Mu la, cloths
con lavorieri de ponte tagio grande (with borders
of broad cut-lace).

With regard to the methods used by our an-
cestors in making punto tagliato, it may be ob-
served that, although they may vary in certain par-
ticulars which we will point out, they lead to the
same results.

(t) La Gloria e Lhonore dei ponti tagiiati et ponti in acre

PUNTO TAGLIATO

(GUT - WORK)

C.l

M ate rials

A round cushion to work upon (baton), sewing
needles — large-headed pins — thread.

How to prepare the iv o r k

Draw on the linen the outline of the pattern
to be worked, which is done by covering it with
a piece of transferring paper, colored on one side
only, and then tracing the required design ; or else,
prick out the outline, and afterwards, placing the
paper on the linen, rub it over with coloring pow-
der, which will leave the outline neatly indicated.

If you wish, for example, to copy the pattern
of figure i ; having transferred the pattern to the

Fig. i.

linen, and having fixed it with pins to the cushion,

2

10

trace out the design with thread. Then begin the
lace work.

Workover the whole tracing with button-hole
stitch, as in fig. 2 , which shews the direction of the
needle and thread. This is a very common stitch used
in nearly all needle-work ; but, nevertheless, it is
as well to give a drawing of it, as the greater
number of point-laces are composed of it.

If you wish to ornament the small holes, or
loops ( becchetti ), with purls, or snierli , be careful,
when the button-hole stitch is done, to put through
it, at the top, a large-headed pin; work across it
several stitches according to the size of the purl re-
quired ; take out the pin, and the stitch is finished.

Then continue along the tracing as in figure 3

How to work

Fig. 2.

Fig. 3.

1 1

For greater variety, the button-hole stitch may
enclose two parallel tacking threads, as in fig. 2.

With such very simple elements may be made
any sort of punto tagliato. To finish the work, cut
away the linen from the outline, and from the
stitches which you may wish to leave open , thus
making what is called punto a giorno , or open
work. Take care not to destroy any part of the
thread of which the stitches are made.

In this manner any one familiar with the an-
cient examples published in the numerous pattern-
books which have been handed down to us, may
easily execute what, towards the end of the XVIt i
century, was known as invention de deesse .

Another way of working this lace was to draw
some threads across a little work-frame in geo-
metrical pattern, which were then fastened down
on a piece of linen (•) and covered with button-hole
stitch, as in the preceding examples. Sometimes the
work of interlacing the threads was done by car-
rying several of them in a radius from a knot placed
in the centre, and afterwards v orking on them any
kind of design, by means of the above mentioned
button-hole stitch ( punto a feslone).

(1) Anciently called « Quintain ».

PUNTO A RETICELLO

(NET-LACE)

Jt is doubtful whether the particulars of the
deed of division between Angela and Ippolita Sforza
Visconti of Milan, of the year 1463, refer to works
of pun to a rcticello by the words radexelo , radexela
radexele , rcdicelle . It is, however, certain that by
radexela was often meant any kind of net, not of
lace ; but on the other hand, it is frequently used
by authors to signify lace (merletto).

Thus Giacomo Franco, in his Nnova inven -
tione de diverse mostri (New inventions of diffe-
rent patterns), printed in 1596, gives examples of
laces which he calls radixeli > and which were a
kind of ornament that might have been used in the
1 5 th century.

Moreover, in the pictures of Gentile Bellini,
in the Royal Institute of Fine Arts at Venice, there
- are represented several women with their necks and
bosoms covered with the kind of lace which we are

i4

describing. Vercellio in the Corona also figures
a lace very like Greek lace, which he calls a re -
ticello. The wonderful perfection to which this lace
had reached at the end of the 16 th century is shewn
by a portrait of Tensino prefixed to his works,
printed in the last years of that century.

This lace, greatly resembling tut lace^ lost its
value on account of the change of fashion ; but
two centuries later Francesca Buigarini, who died in
1762, left, as is stated by Merli (Origine detle trine
page 25 ), wonderful examples of it executed by
herself, resembling the reticello of the Venetians.

As in cut lace, there were anciently two me-
thods for working pun to a reticello . We will
describe them both, as we think it necessary to
make our readers acquainted with them.

PUNTO A RET1CELLO

{ NET LACE)

First M etho d
M a t e r i a l s

The same as those used in Panto Tagiiato.

H o ip to p r e p a r e t he iv o r k

The design given in fig. 4 is an example of
this Lace, taken from an ancient pattern book.

2 as a

Fig, 4,

Take a piece of linen, on which mark out a
number of small squares. Then pull out transverse-
ly, for instance, eight threads of the linen, so that

i6

nothing will be left but the perpendicular threads,
as in A of figure 5.

5-

Count off four perpendicular threads, which,
will form, as it were, a lateral division between which
cut away, at their upper ends, other eight perpen-
dicular threads, thus leaving an open space. This
will form an equilateral’ square, as in B of fig. 5
Continue in this way to treat all the four spaces;
always remembering to leave the four threads which
form the division and to cut away the next eight.
If you wish to make an upper series of open squares,
you must leave four transversal threads, which
will thus form a division, as you have done in the
lateral squares below.

How to w 0 r k

When all the squares are made out, as in fig. 5,
work over all the outlines with button-hole stitch,
as in fig. 2. When this is done, the interior of the
squares must be filled in with the patterns given in
fig. 4. In order to do this, fix a thread in the up-
per corner to the left (fig. 6 A), if you are going to

1 7

work the pattern A fig. 4 ; make one button-hole
stitch , then a row of 3 ; then of 5 etc. etc. as in
fig. 6 , which is done bv introducing the needle into
the loop of the stitch of the row above, as in fig. 6 .

When you have thus filled up half the square
finish the work by cutting the thread.

The small purls, indicated in A of fig. 4 , must
be done as you work, and when you are making the
last row of the button-hole stitch add two or three
stitches where you wish to have the edging, and
then continue the button-hole stitch.

The design B in fig. 4 is done by drawing
several parallel threads from A to B of fig 8 , and
fastening them at those points.

% If, for example, there are six threads, divide
them into two groups by covering three with but-

Fig. 6.

Fig* 7*

i8

ton-hole stitch and afterwards adding the purls ,
as in fig. 7 .

Fig. 8 ,

The pattern C can be worked, as in fig. 9, by
drawing two threads across from A to B and from
C to D, which will cross each other ; then adding
a circle of thread which is fixed to the others with
button-hole stitch, and with threads drawn from
the sides; these are also to be covered with the
same stitch.

a c

Fig. 9.

The border, or lace edging, is done in a differ-
ent way, by changing the arrangement of the threads,
but generally by drawing across a semicircle of thread
from A to B, as in fig. 1 0, which is fastened at both
ends, and afterwards covered with button - hole

stitch, and by filling up the open spaces with threads

Fig, 10,

arranged according to fancy, which are also to be
covered with button-hole stitch.

Second Method

Material s.

Paper on which is drawn the design to be
worked thread of different sizes, such as is used
in making other kinds of lace.

Ho tv to prepare the work.

To work the design given in fig. 4, place on
the paper, on the outlines of the pattern, a much

Fig, u,

20

coarser thread than is used for the rest of the work,
and fix it with a stitch. You will thus have made
a net work, as in fig, 1 1 ,

All the threads of this net-work must then be
covered with button-hole stitch. The patterns in
the figures 8, 9 and 10, as also the border, or
lace edging, are made as explained in the preceding
method. Lastly, detach the work from the paper.

PUNTO IN ARIA

(OPEN-LACE)

T

in the Opera nuova of Giovanni Antonio
Tagliente, printed at Venice in 1630, there is des-
cribed, amongst other laces, that called in aere
or open lace.

It is not certain whether Tagliente intended
to allude to a special stitch used in needlework,
or to that combination of stitches which afterwards
came to be known by the same name.

The works entitled « he Pompe of 1557, and
<1 La gloria ei V honor e dei ponti tagliati eiponti
in aere » (The glory and honor of cut and open
laces), of the year 1 5 58 , are the first which give
examples of the true punto in aria, subsequently
so greatly esteemed in Venice and elsewhere.

The inventory of the furniture of Gio: Batt :
Valier, Bishop of Cividale di Belluno, made in i 5 g 8 ,
mentions five pieces of bed linen of needleworked
point « * . ancient works, and pillow cases of

22

the same lace, besides ten napkins ( fornimenti di
tavaglioli) of similar work equally old.

The pun to in aere was also included in the
sumptuary laws of the Republic. In the years 1616,

1 633 and 1684 the Provveditori alle Pompe pro-
scribed its use in Venice under a penalty of 200
ducats for each offence. But fashion retained it in
spite of the law's.

Towards the end of the 16 th century, Cesare
Vccellio published his « Corona 0, which was re-
printed in the years 1600, 1620 and 1628, and the
Venetian lace-makers continued to work these laces
which, in 1694, obtained the praises of Zunica in
his « Calamita d'Europa. » He calls them beauti-
ful laces which are made with the needle, and
woven with such fine threads that they are
worthy of the name of pun to in aria.

The collar destined for the Coronation of Louis
XI V worked by Venetian women, who employed
in making it their beautiful fair hair, was of punto
in aria.

This lace remained in fashion in the i8 tl1 cen-
tury. Even Joseph II ordered, of a merchant of
Venice, a complete set of it at the price of 77777,78
Italian lire. However, at that time the Venetian
ladies despised point-lace, preferring the laces of
Flanders which, although very wonderful, were
certainly not equal in renown to Venetian Punto
in aria.

PUNTO IN ARIA

(OPEN LACE)

Materials,

The same as those used in the preceding laces.

How to prepare the work.

Draw on a long strip of paper, of the width
of the work to be executed, the outlines of the
pattern. Be careful to fasten under this paper a
piece of linen, in order to strengthen it.

If, for example, you wish to work the design
in fig. 12, first outline the work, and the places

Fig. 12,

24

which arc required to be In the highest relief, with
a coarse thread, as in pinito a reticello.

Cover the thread of the outline of any part
of the pattern with button-hole stitch.

The spaces within the outlines must then be
filled in with button-hole stitch, or may be worked
with net-work ( reticelli ), according to any of the
designs of which we give examples.

To execute this design (Pig. i3^, you must
first make three or four rows of button-hole stitch;
then begin another row, which is to be ornament-
ed with small open work. Take care, at every
opening you wish to make, to miss a stitch, and
to pqt your needle into the next one.

Having finished this row, do another of simple
button-hole stitch, which will include the stitches
left open.

H o 7V to iv o r k.

Fig. 13,

A

2 5

Remember, while you are working the open
stitches {in aria), to stick a pin into the opening,
or to run in a thread, in order to keep it clear.
Then begin again the rows of plain button-hole
stitch, alternating them with the above mentioned
open work.

The same rules apply to the working of the
following examples (Fig. 14, i 5 , 16, and 17).

In order to join the different parts of the pat-
tern together, you must unite them by many threads,
covering them with button-hole stitch.

The small purls described in punlo tagliato
may also be added, as an ornament to this lace.

PUNTO TAGLIATO A FOGLIAMI

(FLOWERED LACE)

The lace called Punio tagliatoa fogliami
or flowered lace, acquired a greater renown than any
other made at Venice, on account of its elegant and
graceful designs* Nevertheless, its origin must be
referred to a period in which all the arts were in
the greatest decline* In the second half of the 17^
century artists produced excellent effects by intro-
ducing this lace in their portraits of iliustrious Ve-
netians* It may, therefore, be presumed that it was
only in use from that time.

We may mention some engravings of the
Doge Francesco Morosioi, whose wonderful la-
ces, still jealously preserved in the palace of his
family, resemble those represented in his portraits.
Nor can we omit to notice the laces of the Do-
garessa Quirini Valier, in a painting existing in
the Civic Museum at Venice, and those in many
other portraits of Venetian magistrates who flourish-

28

ed from the end of the 1 7^ to the first half of the
18 th century. It may also be confidently asserted
that pun to tag Hat o a fogliame was amongst the
principal ornaments of the churches and of the
dresses of the ecclesiastics of that time.

One branch of this lace was called punta
rosa (rose - point), from its resemblance to the
flowers from which it takes its name* The collars
of the magistrates of the old Republic were richly
covered with this splendid rose-point, worked by
Venetian women. Their rivals of the present day
are not inferior to them in producing this lace in
designs of the greatest -variety.

PUNTO TAGL 1 ATO A FOGUAMI

(FLOWERED L A 0 F.)

Materials.

The same as those used in the preceding lace

H o w to prepare the work.

Draw the outline of the pattern on slightly
tinted paper ; afterwards fasten under it a thicker
paper attached to a piece of linen, in order to
strengthen it.

To execute figure 18; mark out the outlines

Fig. 1 8 .

... - • • . ■» .%

with a coarse thread; then commence by filling

3 <>

in all the spaces with button-hole stitch, varying
the designs at pleasure, as in the patterns given
in figures i 3 , 14, i 5 , 16 and 17, in order to imi-
tate the forms and texture of flowers and leaves.

Having done this, cover the outline of those
parts which you wish to be in the highest relief
with several threads, and then work them over
with button - hole stitch, ornamenting them with
purls, as explained in the preceding laces.

Then cover all the other outlines of the work
with the same stitch.

PUNTO D I BURANO

(BURANO POINT)

The origin of this lace is as uncertain as
that of other laces. The first traces of it are found
in the 18 th century.

The Ga\\ttta Veneta of 1792 first noticed
punto di Burano , in which there had been a large
trade even in ancient times. In the portrait of Alvise
Pisani, engraved en 1793 by Bartolozzi, is the
only example of this lace to be found in the rich
collection of engraved portraits, from the 17 th to
the ig tl1 century, preserved in the Civic Museum
of Venice.

Moschini in his Itineraire , printed in 1819,
and the last writers who make mention of Burano,
speak of the lace worked there by its handsome
women. Some pupils of its institution for girls
were a few years ago rewarded by the Royal Ve-
netian Institute for their excellent samples of this
industry.

32

But the boast of the lace-makers of Bo ran o
is that their work has been greatly appreciated in
the present day* The school there, founded by the
generous efforts of some noble ladies and praise-
worthy citizens, is a new source of pride to the
little island of the Lagunes, and to Venice whose
fate it shares (i).

( i ) See Appendix ,

PUNTO D 1 BURANO

(B U R A N O POINT)

Materials.

A common round cushion for working : needles
and pins of different sizes : a small wooden cylin-
der { i) : thread of various sizes.

How to prepare the work.

Draw the pattern in simple outline on co-
loured paper ; fasten under it a piece of linen of
the same size, as in working other laces.

Fig. Iff.

In order to work this design (Fig. 19), fasten
{[) Called in the Byrano dialect Morello.

3

34

the paper having the outline on the cushion with
pins ; then put under it the little wooden cylinder
as shewn in A of fig, 20,

Outline the pattern with a coarser thread
than that to be used for the ground*

Burano lace is divided into three distinct parts
— the ground, the flowers, and the border.

The first thing to be done is to make the
ground ; to do which, fasten a thread at the upper
part to the left of the outline, as in figure 21 ;
then carry the thread from the top to the bottom*
If in doing this you come to other outlines, which
prevent the drawing of the thread in a straight line,
as in A of fig. 21, fix it at the outline with a sim-
ple stitch, and continue on the other side. When
the thread A reaches B {in fig 21), fasten it, and

35

make the first stitch of the net work, passing the

needle over the second threads, and under the first
as in fig. 22.

Fig. 22.

Then hold the thread tight between your
forefinger and thumb (fig. e 3 ), and insert the needle
under the second thread, as in fig. 23 , making a

36

stitch, but always continuing to hold the thread
A with your fingers, until the movement shown
in fig. 24 is made, by which the stitch is closed by

Fig, 24.

pulling up the needle. The net- work is thus com-
pleted. Then carry down two more threads., and
follow the same process until you have finished
the whole of the ground.

The spaces within the outlines of the flowers,
and of the border^ may be filled in, according to
fancy, with the patterns given in fig. i3, 14, i5,
16, and 17, for the punio in aria .

Lastly, the outlines of the flowers are to be
worked over with button-hole, or any other stitch.

■ .

PU NTO D I VENEZIA

(VENICE POINT)

The first traces of the manufacture of this lace
are to be found in the beginning of the 17th* cen-
tury. The ample dresses of that date required
trimmings adapted to the great richness of the
velvets and brocades then in use* and the designers
soon employed their fancy in inventing beautiful
patterns.

At soon as this lace had been introduced into
France it obtained such celebrity that the wise
Colbert, knowing the great benefits which might
be reaped from its manufacture* brought over to
France* at great expense* several Venetian lace-
workers to found a school

Pnuto di Venecia thus transplanted to a foreign
soil, with a few modifications* came to be called
French point » and obtained the greatest celebrity.

In the meanwhile* the Venetian factories con-

3 S

tin lied to supply as much of it as Venetian fashion
required, and even to flourish.

The following curious document will serve to
show how much Venetian Point was used m our
churches, and the great sums which were spent
on it (i)*

« 1 769 : Feb ; 14 Cost of materials and manu-
facture of fine lace of Venetian Point, for two sur-
plices for the Venerable Scttola di £. Maria della
Car it a.

For thread to work the lace - * , . L. 280.

For designs « 80*

For the make of 14 braccia of wide lace
at L. 88 the braceio, and 6 braccia of
narrow lace at L. 44 . . . . * « 1496,

For edging 20 braccia *»*<*. « to.

For common linen, and other small expenses « 3 o.

L. 1806

I, the undersigned, have received on account
of the above materials and manufacture from the
Rev, Sig* D. Giambattista Scioppalalba, Chaplain
to the Venerable Scuola above mentioned, in sever-
al payments nine hundred and twenty eight lire
and three soldi, that is L* 928.3*

Maria Tagliapietra».

(!) Royal Archives of Venice “ Scuola delta Cariia — Ap-
provazione di Parti*

39

The making of this lace is so laborious as to
render its manufacture very painful; so much so
that its production and the trade in it, which existed
in former times, have been greatly diminished.

PUNTO DI VENEZIA

{VENICE POINT)

M a t e r i a t s.

Those used for Pun to in aria .

How to prepare t h e w o r k*

The same rules are applicable which serve for
Pun to in aria > as to the making and covering
of the outlines.

The design of fig. 23 represents an ancient
example of Venetian Point.

Note that the spaces between the outlines may
either be filled with button-hole stitch^ or with
pun to a eordella , darning stitch* This is done
by drawing threads across from one side of the
outline to the other, and afterwards passing the

Fig, 25.

43

needle under and over then, thus making a kind
of woven texture, as shown in fig. 26.

Fig. s6.

The ground of the pattern is made by small
threads covered with button-hole stitch, to which
is added, in working, the small purls already de-
scribed in the punto a reticello.

M E R L E T T I A FUSELLI

(BOBBIN LAC E)

Material s.

A common work cushion; a quantity of small
wooden bobbins; a number of metal pins ; and any
sort of linen, cotton, silk or woollen thread, are
the materials required for making pillow lace
(Fig. 27 and 28).

H o w to prepare the work.

Draw on a piece of strong paper the outlines
of a pattern to be selected from any piece of lace

Fig. 27.

<

Fig. 28. •

44

specimens of old lace of this description still to
be found there.

The manufacture of pillow lace is now widely
spread, e specially in the islands of the Venetian
estuary ^ on account of its being so easily made, and
of its low price, which permits of a large sale.
The women of Pellestrina and Chioggk, who work
for the Society for the, manufacture of lace, are
able to supply a very large quantity of this beautiful
production*

%

MERLETTO A FUSELL1

PILLOW LACE

L

Ln the inventory of the expenses of the Co-
ronations of Richard III of England it is stated
that the Queen wore a mantle of cloth of gold,
with a trimming of white and gold silk from Venice.

It would appear, from the history of this in-
dustry, that these ornaments were the first laces
made with bobbins.

But the first mention of this sort of lace is
only fouud in the year i5c,6 in the Nuova inven-
\ione published by Giacomo Franco, which gives
two patterns of ponto in Tombola (lace made with
bobbins) for sheets and handkerchiefs.

Both Vinciolo and Parrasoli, who published
their works in the first years of the 1 7 th - century,
give examples of merletti a piombini (lead-bobbin-
laces), which, in fact, correspond with merletto a
fuselli (bobbin-lace), and which mere very much
prized in Venice, as would appear by the many

4 6

of which a copy is desired. The part to be covered
with the work is now generally coloured yellow,
and the spaces not to be filled in are left white. Place
under the drawn pattern two or three pieces. of the
same paper, in order to economise time and labour
in making repeats of the pattern and to continue the
work, when the first piece of the design is finished,
by fixing them to the cushion ; then proceed to prick
the design, an operation which consists in piercing
those parts in which any figure, either a square
triangle or hexagon, is to be executed. These pins
will be afterwards of the greatest use.

Having finished this, take the design and the
pricked pieces off the cushion ; one of them is then
fastened on to the cushion with the plain or straight
edge of the pattern to the left, and the bordered
edge to the right.

Then take cushion on your knees, or else
place it on a stool, with its two ends so arranged
that the bordered edge shall be to the right, and
the plain edge to the left.

Have ready as many bobbins, wound with
thread, at the pan A. in fig* 28, as there are stitches
required in the design. Then take a large pin and
stick in into the cushion at a it tile distance from
the pattern, and fasten to it the end of a thread
of one of the bobbins, by twisting it round two
or three times from left to right ; at the fourth
round fix this thread by a loop.

Then pull this loop tight, and the threads, will be

47

fastened to the pin, and the bobbin will remain
hanging to it. Unwind from the reel of the bobbin
as much thread as is required for working, and
prevent it from unwinding further by twisting the
thread two or three times on the lower head of
the bobbins either from the right or the left, finish-
ing with a loop. Put on to the same pin as many
bobbins as it will hold, and then move it to the
top of the pillow, at a little distance from the
pattern. Load a second pin with bobbins, and place
it in a horizontal line with the first; then a third
etc, etc. until all the bobbins are in their places

(%■ 2 9 )-

Fig. 29.

The pattern of lace to be copied is placed be-
hind the row of pins to which the bobbins are
hung,

Horn to mark.

Arrange four bobbins in a row ; throw the
second over the first, the fourth over the third, the

second over the third. Begin again, putting the
second over the first, the fourth over the third,
the second over the third : and thus what is called
a plait of eight will be made. If instead of the
bobbins being used in twos, they are used one by
one, a plait of two will be made.

When the plaits are reduced to the same length
they must be pulled vertically and parallel the one
to the other, and a pin fixed at the angle which
the threads form at each of their extremities, leav-
ing the first and second bobbins to the right, and
the third and fourth to the left, of the pins which
hold them apart.

There are various ways of fixing the plait ;
either by an ordinary knot, or by making a cast
stitch, which will be described hereafter, or else bv
an ordinary stitch.

In making ihe braid, or plait, resume in a
contrary sense from right to left, after having work-
ed from left to right, aud take care to leave two
bobbins, which will serve to enclose the pins;
then make an ordinary stitch.

From the ordinary stitch you may proceed to
the weaving, or canvass, stitch. The weaving stitch
begins where the ordinary stitch finishes : therefore,
if it is to the left, leave, the two first bobbins, take
the four following ones, twist them by twos, that
is to say, pass them from over under, and from
under over the threads to which they are attached,
numbering them from left to right, i, 2, 3 and 4;

49

put the first over the third, the second over the
first, the fourth over the third, and the second
over the third, and the canvass stitch is complete-

To continue the work do not twist the threads,
but, of the four bobbins you have been using,
leave the two furthest to the left ; take the two
which remain, and to them add the two nearest,
going, therefore, from left to right ; put the second
over the third and continue as before. The first
movement is the only one which differs from the
usual rule ; in the first case the Jirst is put over
the third, . and in this istance the second is put
over the third.

In order to work the corona, or finishing edge,
of the lace, twist the two bobbins a? you like : fix
a pin at the point where they are twisted ; pass
. them over this pin, and wind round it from right
to left, the twisted threads of the two bobbins.
Then take, of these two bobbins the one which is to
the left, and pass its threads over the pin, returning
from left to right over the head of this pin.

This last is only done to close and tighten
the work, because when it is tightened the bobbin
is to be put back as it was before.

When you have continued in this way until
you get from the right to the left, four bobbins
will remain. Separate these last four bobbins with
one pin on one side and two on the other; twist
the two bobbins of one side together, and similarly
the two others, as you may wish, and end with a

5 *

simple stitch, throwing the second over the third,
the fourth over the third, the first over the second,
and the second over the third, and so on conse-
cutively.

You can close the work of the canvass stitch
with net- work in the following manner ;

Leave the two bobbins, and twist the two
next threads. With these two bobbins, and the next
two which are not twisted, make a stitch. Take
the two last bobbins of this stitch and the two
next ; twist them by twos as they come, and make
a stitch. With the four last of the sixteen, which
are twisted in twos, work round a pin, and so on
backwards and forwards. With the last four make
a stitch without a twist, and then the edging to
close the net*

If you wish to make an open-work ground,
leave the two first bobbins from left to right, and
work with the following four; then make a stitch;
twist the first two of these four ; keep hold of the
last two ; take the next two ; twist all four by twos*
and make a stitch; then place a pin between the
last four, a little below the former pins; take the
last four of the first eight ; twist them by twos,
and make a stitch ; then separate them with a pin
and so on. When you come to the last four, they
are not to be twisted, but make a stitch, then add
the corona , or edging, and lastly another stitch.

The cast stitch is worked by taking the first
four bobbins to the right; holding them by twos^

making a stitch, twisting them again to make an
other stitch ; then, holding the next four bobbins,
work with them as in the four preceding ones,
finally, take the four next bobbins, and go through
the same process, as with those that precede them,
and so on.

you may close the cast stitch by leaving the
two first bobbins on the left ; twisting the four
following by twos, making a stitch : and fixing them
with a pin. Next take the two preceding and the
two following bobbins and twist them by twos,
making a stitch and fixing it with a pin, and con-
tinue in this way until you come to the last six.
Then work with the four penultimate bobbins,
twisting the first two of them, and make a stitch.
To finish off the ends, take the last four, twist them
by twos, and make a stitch.

APPENDIX

The Burano School for lace was established
about eight years ago in the Island of that name
which, in the XVI, and XVIh Centuries, was one
of the principal seats of the celebrated Lace ma-
nufacture of the Venetian Provinces. The formation
of the School, and the revival of the Art in Burano,
arose out of the great distress which, in 1872, over-
took its inhabitants, consequent on the extraordinary
severity of the winter of that year rendering im-
possible the pursuit of fishing, upon which the
population of the Island, consisting for the most
part of fishermen } depend* So great was me distress
at that time that they and their families were re-
duced to a state bordering on starvation, and for
their relief money contributions were made by
all classes in Italy, including the Pope and the
King. This charitable movement resulted in the
raising of a fund a which sufficed to relieve the im-

54

mediate distress, and to leave a surplus, applicable
to the establishment of a. local industry likely to
increase permanently the resources of the Burano
population*

Unfortunately the industry fixed upon, that
of the making of fishermen’s nets, gave no prac-
tical result, the fishermen being too poor to pur-
chase the nets* It was then that, on the suggestion
of Signor Fambri, an effort was made to revive the
ancient industry of Lace Making. Princess Chigi-
Giovanelli and Countess Adriana Marcello were
asked to interest themselves in and to patronise a
school for this purpose, and to this application
those ladies yelded a ready assent. At a later period
Queen Marguerite graciously consented to become
(and still is) the President of the Institution*

When Countess Marcello (who from that lime
has been the life and soul of the undertaking) be-
gan to occupy herself with 'establishing the Schoo
she found an old woman in Burano, Cencia Scar-
panile, who preserved the traditions of the Art of
Lace Making, and continued, despite her seventy
years and upwards, to make « Burano point* »
As she, however, did not understand the method
of teaching, the assistance was secured of the Signora
Anna Bellorio d’ Este, a very skilful and intelligent
woman, for some time mistress of the girls* school
at Burano, who, in her leisure hours, took lessons
in Lace Making of Cencia Scarpanile and imparted
her knol wedge to eight pupils, who, in consideration

55

of a small payment, were induced to learn to
kame Lace.

As the number of scholars increased, Signora
Bellorio occupied herself exclusively in teaching
Lace Making, which she has continued to do with
surprising results. Under her tuition, the School;
which in 1872, consisted of the eight pupils (who,
as before mentioned, received a daily payment to
induce them to attend), now numbers 320 workers
paid, not by the day, but according to the work
each performs. In this way they are equitably dealt
with, their gains depending on their individual skill
and industry.

In Burano everything is extremely cheap, and
a humble abode capable of accommodating a smal
family may be bought for from 600 to 1,000 Ita-
lian lire, and it is not a rare occurence to find a
young girl saving her earnings in the Lace School,
in order to purchase her little dwelling that she
may take it as a dower to her husband. Nearly all
the young men of Burano seek their wives from
among the Lace workwomen, and the Parish Pries 1
reported last year facts which showed conclusively
that the moral condition of the island, consequent
on the establishment of the Lace School, has im-
proved in a very striking degree.

The Lace made in this School is no longe r
exclusively confined to Burano Point ; but Laces of
any design or model are no undertwaken and espe-
cially those known under the following names : —

5 ?

1 . Point de Burano.

2. Point' d’Alencon.

3. Ancient Point de Bruxelles.

4. Point d'Argentan.

5 . Rose Point de Venise.

6. Italian « Punto in Aria ».

7. Italian « Punto tagliato a fogliami».

8. Point d’ Angleterre.

The following fact relating to the modus ope-
randi in the School, may be of interest.

In order the better. to carry out the character
of the different Laces, the more apt and intelligent
of those pupils whose task it is to trace out in
threads the design to be worked, have the advan-
tage of being educated by means of Drawing les-
sons from professional artists.

The 320 workwomen now employed are divid-
ed into seven sections in order that each may be
engaged upon one sort of v ork, and, as far as pos-
sible, one class of Lace. By this method each worker
becomes thoroughly proficient in her own special
department, executes her task with greater facility,
earns consequently more, and the School on its part
gets the work done better and cheaper (although of
course cheapness must always be very relative).

The work of the Jirst section is confined to
preparing the outline of the design, and numbers
1 5 workers.

The second section employs (io workers, who
execute with the needle the ground work of lit.

57

tie square holes which serves for the « Burano
Point u and for part of the " Point d' Ahncon »,
as also for « Ancien Point de Bruxelles » .

The third section consists of 25 workers, who
are trained to execute the ground -work of small
round holes for the « Point d* Ahncon » and the
«< Point d * Ar genian » .

The fourth section consists of 100 workers*
who execute simple guipure, or the stitches that
fill up the flowers.

The fifth section employs 80 workers, who
join the different pieces of the Laces together, and
work the high relief to the flowers* In order to be
qualified for this section the pupil must have attain-
ed proficiency in every section of Lace Making,
and it is to the workers in this and in the first
section that the Drawing lessons are given.

The sixth section consists of about 10 work-
ers, whose business it is to detach the Lace when
finished from the pattern paper, clean it, and pre-
pare it for sale*

The seven th section comprises those workers
who, being married arid therefore often occupied
with family duties, cannot be subject to the sam
work hours as the single women.

-■ ? * . r • .

*

V S\I I

* A SE1TH

MAY 4 _ 1916